Minus44

Or both?

So why is when you click on a table, the table context menu doesnt show up?, when you click on a paint brush, the paint brush options appear! Inconsistent, UI.

The Context Toolbar is associated with a Tool. So,
If you click on the Paint Brush Tool, you get its Context Toolbar. If you click on the Table Tool, you should (similarly) get its Context Toolbar. But if you click on a Table (not on the Tool), you should still have the Context Toolbar for your active Tool. You would only switch the Context Toolbar if clicking on a Table also caused a switch to the Table Tool. I'm away from my desktop right now, so I'm not sure how Publisher reacts there, but on the iPad selecting a Table does not automatically switch Tools.

You could make a report in https://forum.affinity.serif.com/index.php?/forum/129-v2-bugs-found-on-ipad/ or I could make one there, or you could wait until someone from Serif gets to this topic and logs it for you. If you make a report, you can refer to this topic, but I would suggest including your recording and the other information listed in the forum header (including what you just supplied here).

Thanks for the recording, @Minus44. I'm seeing the same behavior on my iPad, including your new discovery that using the Swatches tab within the Stroke/Fill dialog in the Tables panel maintains the color properly, but using the Color tab doesn't. That has to be a bug, and I can't find any existing threads that have reported it so it doesn't seem to be logged yet.

Sure thing. Here you go. I hope this illustrates a bit more clearly what I’m seeing and doing. 
ScreenRecording_06-14-2025 16-22-20_1.mov

I noticed the same thing. 
Oddly, if I switch away from the “Colors” tools (e.g., Color Wheel, HSL Sliders, RGB Sliders) and use the “Swatches” instead, the choice of fill color sticks. 🤔
This is not at all optimal. Swatches are OK, but if I need a more precise method for choosing my fill color, I need access to the “Colors” panel. 
I seem to recall this being an issue a longgg time ago, either early in AfPub2 or perhaps even earlier. 

Thinking more about the possibilities of using a brush on more than one ayer at a time, I suppose there are uses for this but also several possible "gotchas" to be aware of. For instance, if I did not notice that I accidentally had more than one pixel layer selected when I just wanted to paint on one of them, it would be hard to see that I actually was painting on them all, potentially destroying some pixel content on different layers. Same with the Erase brush or Flood Fill Tool -- very easy to accidentally destroy parts of layers I wanted to leave as is.
So I guess I need to be more careful about what is selected when using these tools.

I learned something new too, obviously. But regardless of that, as for the OP's question, there is no "Current Layer & Below" source option for the Paint Brush Tool like there is for the Inpainting, Flood Select, Healing, etc. tools.

Please elaborate on how this is done. Your simple statement is not very useful at all, unless it's purpose is to goad R-C-R into a debate..
 

Hm. I wouldn't seriously compare the "rotate canvas" function to a missing handle of a hammer.
Heck, I, for one, was able to do design work with a Wacom tablet and without a "rotate canvas" function literally for decades. Even though I sometimes wished it were there.
(That said though, I still prefer to do my illustrations by hand on paper, with a 3B pencil and Jaxon oil pastels. I need to feel the greasy pastels on my fingertips!  It's part of the process that no software can emulate!)

A thousand thanks! Please, come back more often. We desperately need your help, knowledge, patience, willingness, and your beautiful spirit.

Rhymes with "hollow"? 😉

If only there were a button on top of the thread page where one could disable forum notifications and emails…

Also command>Wacom Touch Ring.

I think, it's not necessary for you to wait here. You've shown us your right colors, your point of view, and that's enough and I believe, this thread came to an end.

It’s available via the Context toolbar when the Move Tool is active. Tap on the Move Options arrow to display a menu where you can toggle it on or off.

It often takes time and patience to get a reply, especially if the originators of the post provided this information a year or more prior to our questions.

I have no doubt that the techniques required actually exist within Affinity Photo, even if the specific tools are located in a different place than in Photoshop. Ultimately the technique might even be easier, as is typically the case with Affinity Photo.

Very well done, particularly with this being your first attempt at it! You also ensured that your approach to gear and the images you wanted to make were doable and well-planned. 
This eclipse was my first one, also. I now know that I was either TOO ambitious in what I was trying to accomplish, or should have trained some additional hands to help out, or I should simply have rehearsed even more. Still, I accomplished more than I hoped. I will share some of my results when able.

This is my contribution to the discussion about how to edit eclipse photos.  This was also my first attempt at photographing a total eclipse and it was the shortest 4 minutes ever! I used a Canon 70 D and set it for a 5 shot bracket using the Programed setting so the camera would center on what ever it saw at a “normal” exposure.  The eclipse was high in the sky and no clouds (I was west of Hot Springs at a campground on Lake Ouachita, very near the center line). I used a Sigma 150 to 600mm zoom.  I think I set the focus to auto since the focus changes when zooming and all the photos I took were in focus.  Once I got framed up I just keep shooting burst after burst and changing the zoom from 150, 335, 451 and 600mm.  I took a total of 69 photos.  For my first edit attempt I picked a group of images taken at 1:49 local time at 600mm, using 6.3 to F-7.1, 1/400 to 1/10 sec., ISO - 200.
I also wanted to show detail in the Sun’s Corona and processing was aimed at that goal.  I used a fair amount of sharpening, brightness and contrast and what ever looked like it could help.  The solar provenances ere edited with a heavy hand just to get them to show up well and I’ll tone that down on my next attempt.
I spent about 4 hour on just this image and started over about 4 or 5 times.  I don’t know Affinity 2 real well and it was a bit frustrating because I know there are features that would help me but I didn’t know how to use them effective and just finally stopped when I got an image I thought was good but not optimal.  I found this site and was hoping for additional input from the uses here.
Look like I'm having problems getting the photo to download!  I'll keep trying.

Right now I am working on trying to do the Diamond ring(s) and the Bailey beads and such. 
I would like to see if I can get those "extracted" out of the images I have.
I have noticed that next time I need to try a little harder on getting things in focus a little better. Specifically on the A7IV and Sigma 150-600mm setup...
I wish they were a little sharper (if even possible, to be honest...).
Although that might also be the result of the slight breeze we had throughout the day...
Still, I am not too unhappy with the various results so far.

Thank you. Ulysses.
Sorry for the late response. We were pout doing touristy things yesterday...

I actually had two setups going:
The one for the landscape (trees in foreground) composite:
- My Sony A7III, with the Sony Vario-Tessar T* FE 16-35 mm F4 ZA OSS (SEL1635Z). I had that set to 21mm, F/8, ISO 100. Manual focus. Stacked ND 1000 and ND64 filters.
I took a bracketed shot (9 brackets @ 1.0 stop) every 4 minutes. Starting from C1 all the way through Totality and out past C4. Took off ND filters at C2, totality and put them back on at C3.

The one for the clos-up shot and close up composite:
- My Sony A7IV, with the Sigma 150-600mm F5-6.3 DG DN OS | S (Sony E). I had that set to about 570-ish mm, F/8, ISO 100. Manual focus and re-framing like every other shot.
I took a bracketed shot (9 brackets @ 1.0 stop) manually Initially every so often, with solar filter on. After that (almost) continuously without solar filter, starting from right before C2 all the way through Totality and out past C3. Then went back to filter and every so often until after C4.

This was ALL my first time EVER trying a solar (or any) eclipse...

Yes, I LOVE C1 and Affinity. Still learning Affinity, but have been suing C1 for about 5 or so years (if not longer).

Hello All,

Thank you for the feedback, but has ANY of you had a chance yet to experiment with the editing of the corona shots in Affinity Photo?
So, the best detail I have managed to "concoct" out of my RAW editor (Capture One Pro), is the attached image.
Haven't even tried to improve on that in any other editor (Affinity Photo or any other ones...), to see if I can get more out of it, like the Russell Brown versions.
I know there is much more potential in it than this... 
I just can't seem to get more out of it right now.

I have also added couple composites I tried my hand on.

Anyway, very interested in seeing all-a-y'all's efforts...

Thank again, Eric

marcr1230, keep at it.  I worked on my images several times to exhaustion & would stop for long periods & come back to them.  Took maybe 5 try before I figured out what works.  The breaks help refresh you & encourage insight that leads to new progress.  I've done lots of astro but nothing comes close to the demands of processing a eclipse @ totality. 

Solar prominences are completely visible to the naked eye in white light. They’re visible on the Sun’s limb when the much brighter disk of the Sun is completely obscured by the Moon during a total solar eclipse. In this configuration, the solar prominences aren’t competing against the rest of the Sun’s comparatively brighter disk. No dedicated H-alpha telescope required.

With the 2024 total solar eclipse, there were several large prominences easily visible to the naked eye even without the use of a telescope or telephoto lens. My unaided eyesight is poor, so when a nearby 10-year-old child asked, “What are those pink things around the Sun and Moon?” I was thrilled! When my eyes finally focused—much more slowly than the child’s—I could also see these large pink spots. So the prominences this year were unusually large and plentiful. I counted maybe four or five of them. Three are particularly big ones.